Hochofen, Ilsede/Hannover

Bernd & Hilla Becher
Hochofen, Ilsede/Hannover
1998
1 + 2 = 3 (Triptych)

Daniel Buren
1 + 2 = 3 (Triptych)
1998
Running Fence...

Christo & Jeanne-Claude
Running Fence...
1998
Künstlicher Marmor...

Hanne Darboven
Künstlicher Marmor...
1998
Coda

Günther Förg
Coda
1996-98
Untitled (Triptych)

Dan Flavin
Untitled (Triptych)
1996-98
Happy Clinique

Sylvie Fleury
Happy Clinique
1998
Alf and Fritz / Volcano

Nan Goldin
Alf and Fritz / Volcano
1998
Somebody / Nobody

Peter Halley
Somebody / Nobody
1998
Dancing Giraffe Tree

Rebecca Horn 
Dancing Giraffe Tree
1998
Levlvovich´s "Coincidences"

Ilya Kabakov
Levlvovich´s "Coincidences"
1998
Untergang

Per Kirkeby
Untergang
1998
Tür und Tor

Imi Knoebel
Tür und Tor
1998
Fun

Jeff Koons
Fun
1998
L´essence de la rhétorique...

Joseph Kosuth
L´essence de la rhétorique...
1998
Senza titolo (Trittico)

Jannis Kounellis
Senza titolo (Trittico)
1998
Wavy Lines on Gray

Sol LeWitt
Wavy Lines on Gray
1996 - 98
River Avon Mud Drawings

Richard Long
River Avon Mud Drawings
1998
Venedig 1997

Gerhard Merz
Venedig 1997
1998
Untitled

Matt Mullican
Untitled
1998
Triangle, Trinity

Nam June Paik
Triangle, Trinity
1998
Chiaroscuro

Giulio Paolini
Chiaroscuro
1998
Gemelle (Mirror Triptych)

Michelangelo Pistoletto
Gemelle (Mirror Triptych)
1998
Bronx I

Thomas Ruff
Bronx I
1998
Malfi

Julian Schnabel
Malfi
1998
Duchamp Triptych

Elaine Sturtevant
Duchamp Triptych
1998
Falling Blue, Rising Red

Rosemarie Trockel
Falling Blue, Rising Red
1998
Homesick as a Nail

Richard Tuttle
Homesick as a Nail
1998
Two Works by Sherrie Levine

James Welling
Two Works by Sherrie Levine
1998
 
 
Hochofen, Ilsede/Hannover
Bernd & Hilla Becher

Hochofen, Ilsede/Hannover
1998

Two duotone offset lithographs on white board.
Each print 50 x 40 cm (19¾ x 15¾"), each
signed and numbered. Edition of 60.






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1 + 2 = 3 (Triptych)
Daniel Buren

1 + 2 = 3 (Triptych)
1998

Three-part woodcut on rag paper,
50 x 40 cm (19¾ x 15¾ in.) each,
available in red, green, blue or
yellow. Edition of 60, signed and
numbered on certificate.


Daniel Buren was born 1938 in Boulogne-Billancourt (France), lives and works in Paris.
»In the years 1965-1966 I found the striped fabric with which I could first execute a personal, later a radical criticism of the artwork - by reducing my own activities to something more or less desparate, more or less in vain.«  For 30 years, the vertical stripes of 8.7 cm width, have been the constant element in the work of Buren, who has systematically investigated their artistic potential in paintings, objects and most often, in site-specific public installations.




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1 + 2 = 3 (Triptych)
 
 
Running Fence...
Christo & Jeanne-Claude

Running Fence...
1998

[Running Fence, Sonoma and Marin Counties, California 1972-76]
a: Grano lithograph with collage, printed in eight colors
on Fabriano rag paper; b, c: Two heliogravures, printed
in four colors on Rives BFK rag paper.
Each print 40 x 50 cm (15¾ x 19¾"), each signed and
numbered. Edition of 60 + X (Roman numbered).


Christo and Jeanne-Claude, American artists, both born June 13, 1935. Bulgarian-born Christo and French-born Jeanne-Claude (until her death in 2009) both live in New York. »We live these projects during several months or years; they are a part of our life. For us they are like a discovery trip to New Guinea or Africa.« Christo and Jeanne-Claude´s projects challenge our everyday perception with temporary, unrepeatable works of art. Thus, the artists are "producers of memories". The preparatory drawing and collages are created by Christo before the completion of the project.




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Künstlicher Marmor...
Hanne Darboven

Künstlicher Marmor...
1998

[Künstlicher Marmor, Kirche Neuenfelde,
Harburg Elbe Nord]
Three grano lithographs, printed in six colors
on Rives rag paper. Each print 50 x 40 cm
(19¾ x 15¾"), each signed and numbered.
Edition of 60.


Hanne Darboven was born 1941 in Munich, lived and worked in Hamburg, died in 2009. According to self-imposed rules the artist writes down the course of time, which is the course of history. In thousands of sheets of paper conceived as serial works she notes sequences of text and numerals, often combined with visual documents reflecting her own biography, contemporary history, or cultural phenomena. The wide range of her themes and the wealth of her photographic material lends her work the appearance of a visual encyclopedia of our time.




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Coda
Günther Förg

Coda
1996-98

Three etchings on Rives BFK rag paper.
Each print 50 x 40 cm (19¾ x 15¾"),
each signed and numbered. Edition of 60.


Günther Förg was born 1952 in Füssen (Germany), lives and works in Areuse (Switzerland). His painterly formulations are a consideration of the medium itself and are in continuous dialogue with the heroes of contemporary painting such as Barnett Newman, Ad Reinhardt, Ellsworth Kelly, Blinky Palermo and the aesthetics of Bauhaus architecture. Förg approaches the analysis of these important achievements in 20th century painting as a superficial "flaneur", but at the same time manages to keep things in subtle suspension. This triptych Coda was titled after a poem by Ezra Pound.




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Untitled (Triptych)
Dan Flavin

Untitled (Triptych)
1996-98

Three aquatints printed from two to three plates each on Twinrocker handmade rag paper. Each print 50 x 40 cm (19¾ x 15¾"),  each print numbered and estate signed by the artist´s son, Stephen Flavin. Edition of 60.


Dan Flavin was born 1933 in New York, died 1996 in Wainscott, New York. Beginning in 1961 the artist Dan Flavin made the industrial fluorescent light tube his almost exclusive material; in doing this, he was not intrigued by the configuration of light fixtures but by the effects of their complex colored light in an interior space. In his few monochrome prints Flavin does not illustrate fluorescent light, but suggests color and light translated into the graphic medium.




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Happy Clinique
Sylvie Fleury

Happy Clinique
1998

Three mixed media prints (silkscreen and offset
lithograph) on glossy coated board. Each print
50 x 40 cm (19¾ x 15¾"), each signed and
numbered. Edition of 60.


Sylvie Fleury was born 1961 in Geneva (Switzerland), lives and works in Geneva.
Fleury exploits elements of fashion in her work, using its formal principles or the highly recognizable images created by the fashion industry. She does this without taking a critical position towards the mechanisms of the market or of consumption. She is merely interested in the principles of fashion and the investigation of its aesthetic and conceptual aspects. By applying artistic means to the phenomena of fashion, Fleury releases them from their transitory nature so they become blueprints for thinking.




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Alf and Fritz / Volcano
Nan Goldin

Alf and Fritz / Volcano
1998

a: Alf Bold Dead, August 18, 1993;
b: Fritz Five Days Old, August 18, 1993;
c: Stromboli at Dawn.
Set of three Ilfochrome prints. Each print 40 x 50 cm
(15¾ x19¾"), set signed on image b. Edition of 60.


Nan Goldin, born 1953 in Washington, D.C., lives and works in New York.  
»For me taking a picture is a way of touching somebody - it´s a caress. I am looking with a warm eye, not a cold eye. I am not analyzing what is going on - I just get inspired to take a picture by the beauty and vulnerability of my friends.«  »On August 18, 1993 I spent the day by the bedside of my best friend Alf Bold listening to his death-rattle. I left the hospital briefly to meet my friend Hans Werner´s newborn son, Fritz. When I returned to the hospital an hour later Alf had died.«




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Somebody / Nobody
Peter Halley

Somebody / Nobody
1998

Two silkscreens, printed in 23 or 14 colors
(Day-glo, metallic and pearlescent),
with embossing, on Arches rag paper.
Each print 50 x 40 cm (19¾ x 15¾"),
each signed and numbered. Edition of 60.






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Dancing Giraffe Tree
Rebecca Horn 

Dancing Giraffe Tree
1998

Two soft ground etchings on dyed transparent Japanese paper, collaged on Hahnemühle etching paper. Each print 50 x 40 cm (19¾ x 15¾ in.), each signed and numbered. Edition of 60.


Rebecca Horn, born 1944 in Michelstadt (Germany), lives and works in Berlin and Paris. She constructs ensembles of discrete, often kinetic parts to create evocative, almost theatrical, installations. The central and connecting theme of her works - in sculpture, installations, drawings and prints - is the transmission and free flow of energy which the artist directs into poetic ensembles, often suggesting a surreal expression.




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Levlvovich´s "Coincidences"
Ilya Kabakov

Levlvovich´s "Coincidences"
1998

Two silkscreen and offset lithographs on
Somerset rag paper. Each print 50 x 40 cm
(19¾ x 15¾"), each signed and numbered.
Edition of 60.


Ilya Kabakov, born 1933 in Dnjepropetrowsk (Ukraine), lives and works in New York.
»When I saw his exhibition "The Life of Flies" I was astounded by his unique combination of philosophical seriousness and totally unserious ironic play. He piles on the untruth until it takes on the poetic beauty of imaginative creation. Kabakov´s mastery of stagecraft in this edifice of lies no doubt sprang from his own origins in a world that was just such an edifice.«




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Untergang
Per Kirkeby

Untergang
1998

Three lithographs, printed from three to five stones
on Velin Arches rag paper. Each print 50 x 40 cm
(19¾ x 15¾"), each signed and numbered.
Edition of 60.


Per Kirkeby, born 1938 in Copenhagen (Denmark), lives and works in Copenhagen. Kirkeby´s artistic approach, in painting as well as in printmaking, is characterized by intimation and disguise, by crystallization and metamorphosis. At first glance chaotic, his highly complex layers of imagery, line structures and bodies of color oscillate between representional form and free abstraction. »I like to think of myself as a gardener, my canvas is the plot of land and my colors are the soil and the flower beds.«




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Tür und Tor
Imi Knoebel

Tür und Tor
1998

Three-part print: Two silkscreens, printed with
phosphorous pigment, and mezzotint, all printed on
Rives BFK rag paper. Each print 40 x 50 cm
(15¾ x 19¾"), set signed and numbered on mezzotint.
Edition of 60.


Imi Knoebel, born 1940 in Dessau (Germany), lives and works in Düsseldorf.
He has created an oeuvre which is of rare radicality as it touches the roots of painting or even the roots of "pictures". Executed in a stringent manner, his works balance severity and freedom, rhythm and stillness, preciseness and poetry. His paintings/objects resemble energetic fields: he suspends form and vibrant color so that they radiate like the "singing architecture" which Paul Valéry dreamt of in his search for a modern classicism.




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Fun
Jeff Koons

Fun
1998

Three grano lithographs on Biber GS coated board.
Each print 50 x 40 cm (19¾ x 15¾ in). Edition of 60
+ X + 15 A.P, each signed and numbered.


Jeff Koons, born 1955 in York, Pennsylvania (USA), lives and works in New York. »My work has no aesthetic values, other than the aesthetics of communication.« »I´m for the return of the objective, and for the artist to regain the responsibility for manipulation and seduction: for art to have as much political impact as the entertainment, film, pop music and advertising industries.«




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L´essence de la rhétorique...
Joseph Kosuth

L´essence de la rhétorique...
1998

[L´essence de la rhétorique est dans l´allégorie IV ]
Three-part aquatint and heliogravure on Rives BFK
rag paper. Each print 40 x 50 cm (15¾ x 19¾"),
signed and numbered on third print. Edition of 60.


These three heliogravures quote a René Magritte painting, "L´apparition" 1928, in which amorphous elements are a repeated motif. These "clouds of language" contain the major concepts of Michel Foucault´s essay Ceci n´est pas une pipe of 1973, in which the French philosopher investigated the semiotic character of Magritte´s word pictures. Kosuth has described his projects as investigations which examine the conceptual and representational shifts between the identity of words and the reality of things.




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Senza titolo (Trittico)
Jannis Kounellis

Senza titolo (Trittico)
1998

Three lithographs, printed from one stone on Sicars
rag paper with collaged newspaper, folded and printed
over with a second stone. Each print 50 x 40 cm
(19¾ x 15¾"), each signed and numbered.
Edition of 60.






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Wavy Lines on Gray
Sol LeWitt

Wavy Lines on Gray
1996 - 98

Triptych of three woodcuts, printed with
oil paint on Awa-Kozo Japanese paper,
50 x 40 cm. Edition: 60, sign. and num.
on print c.






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River Avon Mud Drawings
Richard Long

River Avon Mud Drawings
1998

Three grano lithographs on Rives rag paper.
Each print 50 x 40 cm (19¾ x 15¾"),
each signed and numbered. Edition of 60.


Richard Long, born 1945 in Bristol, Great Britain, lives and works in Bristol. He is known for his artistically motivated "walks" through landscapes in England, Scotland, Wales, Lapland, India, Bolivia, Mexico, California and the Sahara. His works consist of minimal interventions in the landscape itself, which Long documents in photographs and drawings, or sculptures composed of raw material found in nature. The "River Avon Mud Drawings" are a visual record of a natural process: the movement or progression of fine river silt down a piece of paper that the artist dipped in the mud. Infinitely varying patterns result, suggesting nature´s complex organic processes.




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Venedig 1997
Gerhard Merz

Venedig 1997
1998

a, b: Two silkscreens, c: Grano lithograph,
all printed on Magnani rag paper.
Each print 50 x 40 cm (19¾ x 15¾"),
each signed and numbered. Edition of 60.


Gerhard Merz, born 1947 in Mammendorf near Munich, lives and works in Berlin and Pescia, Italy. Gerhard Merz, who has occasionally been labeled a modern classicist, uses the elements of art - measurement, form and light - in a careful reconsideration of modernism. These three prints document the
idea, the architectural plan, and the realized art space at the German Pavillion of the Venice Biennale 1997: brick walls, plaster and fluorescent light - clarity and blankness. »The beautiful is mute and blank.«




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Untitled
Matt Mullican

Untitled
1998

a, b: Two silkscreens, c: Offset lithograph, all printed
on Fabriano rag paper. Each print 40 x 50 cm
(15¾ x 19¾"), set signed and numbered on print a.
Edition of 60.
Print a is the same image throughout the edition,
b has 5 different color variations, and c
shows 15 different images within the edition.


Matt Mullican, born 1951 in Santa Monica, California (USA), lives and works in New York. Underlying Matt Mullican´s work is an artistic concept which encompasses, in a literal sense, a world-view. Every work, therefore, contains the complex logic of a universal form in which the meaning of the greater concept derives from the symbolic significance of the individual works which are based on language. Color is the organizing principle in Mullican´s cosmology, specifically red = subjective, black = language/sign, yellow = world framed, green = elements and blue = the world unframed. Mullican was one of the earliest artists to employ the computer, and the Sequences project is related to Mullican´s piece for the documenta X website. The triptych simulates the almost archeological sifting through layers made possible by hyperlink technology.




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Triangle, Trinity
Nam June Paik

Triangle, Trinity
1998

Three mixed media prints (silkscreen and offset),
two of them with collage, all on Rives rag paper.
Each print 40 x 50 cm (15¾ x 19¾"), each signed
and numbered. Edition of 60.






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Chiaroscuro
Giulio Paolini

Chiaroscuro
1998

Two silkscreen and offset lithographs on
Gohrsmühle rag paper, folded as passe-partouts,
printed inside and outside.
Each print 50 x 40 cm (19¾ x 15¾"), each signed
and numbered. Edition of 60.


»All my works revolve around a diaphragm implicit in the image - like an ideal mirror that reflects and reveals the appearance which constitute it. The two prints Chiaroscuro (lightdark) represent two different versions of the same image; a black spot on a white sheet (La sainte Vierge by Francis Picabia 1920) and a white spot on a black sky (fireworks from a photograph by Paolo Mussat Sartor). The first image frames the second and vice versa.«




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Gemelle (Mirror Triptych)
Michelangelo Pistoletto

Gemelle (Mirror Triptych)
1998

Three acrylic glass mirrors, printed with silkscreen.
Each print 50 x 40 cm (19¾ x 15¾"), signed
and numbered on verso. Edition of 60 + X.






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Bronx I
Thomas Ruff

Bronx I
1998

Two grano lithographs on Fabriano rag paper.
Each print 50 x 40 cm (19¾ x 15¾"),
each signed and numbered. Edition of 60.






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Malfi
Julian Schnabel

Malfi
1998

Three silkscreens, printed in five to seven colors
on primed Rising museum board, each handworked
with monotype and poured resin.
Each print 50 x 40 cm (19¾ x 15¾"), each signed
and numbered. Edition of 60.






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Duchamp Triptych
Elaine Sturtevant

Duchamp Triptych
1998

a, b: Two grano lithographs and c: Silkscreen,
all on Rives rag paper. Each print 50 x 40 cm
(19¾ x 15¾"), each signed and numbered.
Edition of 60.


Since the mid-sixties Sturtevant has been investigating the conceptual strategy of recreating existing, well-known works of contemporary art, and thus can be considered a precursor of the appropriation art of the eighties. Short-circuiting the dualism implied by the question of original and imitation, each of her works sets up a confrontation with the content of art, freed of the obstructing patina of the original and freed from the predominance of the signature of the author. Causing art-as-phenomenon to appear in its very being - that seems to be the infinite significance of Sturtevant´s repetitions.




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Falling Blue, Rising Red
Rosemarie Trockel

Falling Blue, Rising Red
1998

Two heliogravures on Rives rag paper.
Each print 50 x 40 cm (19¾ x 15¾"),
each signed and numbered.
Edition of 60.






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Homesick as a Nail
Richard Tuttle

Homesick as a Nail
1998

One drypoint etching on Somerset white rag paper
and one silkscreen, printed in five colors on acetate
on both sides, hand-colored additions. The two
panels can be viewed separately or overlapping.
Each print 40 x 50 cm (15¾ x 19¾"), set signed
and numbered on etching. Edition of 60.

Homesick as a Nail

Tuttle´s work is composed of fragile beauty assembled and transformed from the experience of everyday life. Always experimenting, in these prints, Tuttle manipulated the process of silkscreen by using guided blasts of water directly on the screen to form the imagery of the mylar overlay. As with his work in general, Tuttle continues to investigate the perceptive and cognitive boundaries of the visual field.




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Two Works by Sherrie Levine
James Welling

Two Works by Sherrie Levine
1998

Two grano lithographs on Fabriano rag paper.
Each print 50 x 40 cm (19¾ x 15¾"),
each signed and numbered. Edition of 60.






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